Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 21688). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p093 RIGHT — 44 lignes

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1 VIMARŚA main
via surya_layout
2 169 page_number
via heuristic_pagenum
3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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vol_II_p008 RIGHT — 63 lignes

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1 (vide) annotation_inline
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2 <b>ABBREVIATIONS</b> section_header
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3 Abhi main
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4 Abhinavagupta annotation_inline
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5 Abhinava Bhāratī, Abhinavagupta's commentary main
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6 Abhi Bhā annotation_inline
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7 on Nātya-Šāstra G.O.S., Baroda edition main
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8 Anuccheda, comparable to paragraph main
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9 Anu. annotation_inline
parent ligne 8
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10 Bha Bhā main
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11 Bharata Bhāṣya of Nānyadeva published upto a main
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12 portion of Chapter VII in two volumes by Indira main
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13 Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) main
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14 and photostat of manuscript in the Deptt. of main
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15 Musicology, B.H.U. annotation_inline
parent ligne 14
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16 Bha Ko main
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17 Bharata Kośa of M.R. Kavi main
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18 BrD annotation_inline
parent ligne 17
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19 Brhaddeśi of Matanga Muni main
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20 C.r. annotation_inline
parent ligne 19
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21 Cited reading main
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22 Dattilam of Dattila unknown
via fallback
23 Datti unknown
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24 Ed. main
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25 Pt. K. Sāmbaśiva Sāstrī, editor of Bṛhaddeśī, main
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26 published in Anantaśayana Sanskrit Granthāvalī main
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27 No. 94 (Trivandrum Sanskrit Series) in 1928 main
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28 <i>Kalānidhi</i> commentary of Kallinātha on main
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29 Kalā annotation_inline
parent ligne 28
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30 Sangita-Ratnākara main
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31 Kalli annotation_inline
parent ligne 30
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32 Kallinātha main
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33 Lit. annotation_inline
parent ligne 32
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34 Literally main
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35 Mānasollāsa of Someśvara, Vol. III main
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36 Mānaso annotation_inline
parent ligne 35
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37 NŠ main
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38 Nātya Šāstra, G.O.S., Baroda edition, unless main
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39 otherwise indicated annotation_inline
parent ligne 38
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40 NŠ Chau. main
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41 Nāṭya Śāstra, Chaukhambha, Varanasi edition main
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42 NŠ Kā Mā annotation_inline
parent ligne 41
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43 Nāţya Sāstra, Kāvya Mālā edition main
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44 P.t. annotation_inline
parent ligne 43
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45 Printed text of Bṛhaddeśi, Trivandrum edition main
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46 Ra Kau annotation_inline
parent ligne 45
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47 Rasakaumudi of Šrikantha main
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48 Rā Vi annotation_inline
parent ligne 47
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49 Rāga Vibodha of Somanātha main
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50 Sam Sa Sā annotation_inline
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51 Sangīta-Samaya-Sāra of Pārsvadeva main
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52 Sam Ši Bhā Ka annotation_inline
parent ligne 51
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53 Sangīta Siromaņi of Panditamandalī, main
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54 manuscript in Bharat Kala Bhavan, B.H.U., main
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55 transcript in the Deptt. of Musicology, B.H.U. main
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56 Sam Su P.L. annotation_inline
parent ligne 55
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57 Sangita Sudhākara, Palm Leaf manuscript, main
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58 Saraswati Mahal Library, Tanjore, transcript in main
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59 the Deptt. of Musicology, B.H.U. main
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60 Simha annotation_inline
parent ligne 59
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61 Simhabhūpāla main
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62 SR annotation_inline
parent ligne 61
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63 Sangita Ratnākara of Šārngadeva (Adyar edition) main
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vol_II_p089 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 160 page_number
via heuristic_pagenum
3 यापापाधापासासापाधापमगामामा page_header
via surya_layout
4 उदाहरणम् - सापापाधामामा पागामगापधाधापागमा main
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5 गामसासासागागामागामामा । षड्ज[मध्यमा]।[४] editorial_bracket
parent ligne 4
via heuristic_brackets
6 मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु । main
via surya_layout
7 ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ main
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8 भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ main
via surya_layout
9 प्रेक्षके मधुकरी annotation_inline
parent ligne 8
via heuristic_height
10 मापानिसासारिरोगमगारीसासा main
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11 उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा main
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12 निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५] editorial_bracket
parent ligne 11
via heuristic_brackets
13 मधु(क)री annotation_inline
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14 ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ editorial_bracket
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15 [५.अथ पञ्चमे] ७४ editorial_bracket
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16 पञ्चमांशा तदन्ता च निषादबहुला सदा। main
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17 परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥ main
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18 <sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । main
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19 आभौरी annotation_inline
parent ligne 18
via heuristic_height
20 पूर्ण annotation_inline
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via heuristic_height
21 एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ main
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22 उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि- main
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23 मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास - main
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24 रिमाधारिमपापा । आभीरी। [१] editorial_bracket
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25 भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । main
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26 मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ main
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27 मध्यम् annotation_inline
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28 भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥ main
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29 उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा editorial_bracket
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30 मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२] editorial_bracket
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vol_II_p129 LEFT — 28 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 240 page_number
via heuristic_pagenum
3 [४३. वर्णस्वर:] section_header
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4 निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१। main
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5 संयुतैस्तैर्नकै: annotation_inline
parent ligne 4
via heuristic_short
6 स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥ main
via surya_layout
7 तेन्त्र॰ annotation_inline
parent ligne 6
via heuristic_markers
8 गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥ main
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9 वर्णासरक: annotation_inline
parent ligne 8
via heuristic_height
10 [४४. मुक्तावली] section_header
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11 देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते । main
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12 नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥ main
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13 [४५. प्रतापवर्धन:] section_header
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14 उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: । main
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15 ॰कै: पार्द: स्वरैध + annotation_inline
parent ligne 14
via heuristic_markers
16 तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥ main
via surya_layout
17 तेन्तकै॰ annotation_inline
parent ligne 16
via heuristic_markers
18 प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥ main
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19 (तो?नो) annotation_inline
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via heuristic_short
20 अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥ main
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21 [गीतदोषाः] section_header
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22 लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्। main
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23 ॰शास्त्र +++ पञ्च annotation_inline
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24 छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥ editorial_bracket
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25 + गोदुष्टं main
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26 पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥ main
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27 काप्यमसन्दिग्धं annotation_inline
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28 चाभ्यशि ॰ annotation_inline
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vol_II_p051 LEFT — 27 lignes

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1 84 page_number
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2 BRHADDEŚĪ page_header
via surya_layout
3 प्रयोगैर्मसृणै: सूक्ष्मकाकुभिश्च३३ सुयोजितै: । main
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4 ॰क्ष्मै: annotation_inline
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5 ॰िमेत्रै: annotation_inline
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6 <sup>३४</sup>एवं साधारणी ज्ञेया सर्वगीतिसमाश्रया ॥२८५॥ main
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7 [६. भाषा गीति:] section_header
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8 प्रयोगैर्गात्रजै: शृक्ष्णै: काकुरक्तै: सुयोजितै: । main
via surya_layout
9 कम्पितैः कोमलैर्दीप्तैर्मालवीकाकुनान्वितैः ॥२८६॥ main
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10 लितै: सुकुमारैश्च प्रयोगैश्च सुसंयुतै:। main
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11 (सीं ? सं) annotation_inline
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12 भाषा गीति: समाख्याता एषा गीतिविचक्षणै: ॥ main
via surya_layout
13 यथा वै रज्यते लोकस्तथा वै सम्प्रयुज्यते ॥२८७॥ main
via surya_layout
14 [७. विभाषा गीति:] section_header
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15 लिलतैर्बहुभिर्दीतै: कम्पितैरौरसै: समै:। main
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16 (र ? रौ) annotation_inline
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17 तारातितारैर्मसृणैर्मध्ये मध्यमदीपितै: ॥२८८॥ main
via surya_layout
18 गमकै: श्रोत्रसुखदैर्ललितैस्तु यदुच्छया। main
via surya_layout
19 विभाषागीतिस्तु संयोज्या यथा लोकोऽनुरज्यते ॥२८९॥ main
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20 [॥ इति गीतिलक्षणम् ॥] editorial_bracket
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via heuristic_brackets
21 [रागसङ्ख्या, उद्देशश्च] section_header
via surya_layout
22 गीतीनां लक्षणं प्रोक्तं रागसङ्ख्योच्यतेऽधुना । main
via surya_layout
23 गीतानां annotation_inline
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24 पञ्च चोक्षा: समाख्यातास्तत्प्रमाणाश्च भित्रका: ॥२९०॥ main
via surya_layout
25 गौडास्त्रयस्तु कथिता रागाश्चाष्टौ प्रकीर्तिता: । main
via surya_layout
26 सप्त साधारणा: प्रोक्ता भाषाश्चैवात्र षोडश ॥२९१॥ main
via surya_layout
27 द्वादशैव विभाषा: स्युर्नामानि च निबोधत ॥२९२॥ main
via surya_layout
192 lignes a valider — change uniquement les roles incorrects.